Mysterious Intruder

A nice old gentleman named Stillwell approaches a private investigator about a girl who has been missing for seven years. Stillwell has some valuable property that he strongly feels rightfully belongs to the girl named Elora. Elora's mother had pawned some 'junk' at Stillwell's music shop but who has died since. The intrigue is what is so valuable about this property and whereabouts in Stillwell's shop is it? Stillwell gets stabbed and other murders follow as the search for the mysterious object ensues.

Richard Dix plays the investigator who only just manages to keep on the right side of the law. This film is so full of mercenary characters. The most interesting of these for me is Rose Denning who is a charming old dear who keeps her hard liquor hidden under the wool in her knitting basket. There is a terrific shot of Mike Mazurki as Harry Pontos when he grabs hold of a package in Stillwell's shop. The evil look of sheer avaricious delight is probably the most menacing sequence I've seen in a film lately.

I wasn't prepared for the grim ending as I didn't really know what these Columbia Whistler films were all about. The Whistler is a doom-laden narrator who only appears as a shadow on the wall. This one is full of mystery and has a terrific atmosphere as you would expect under the guiding influence of director William Castle. He has excelled himself here as he weaves together so many moments of shadows and skulduggery and I savored every moment of them.

The improbable plot for this entry in "The Whistler" series has something to do with valuable cylindrical disc recordings of Swedish nightingale Jenny Lind, a double-crossed antique dealer, a femme fatale blonde who knows the recordings are worth $200,000, and some crooked thieves. RICHARD DIX is the gumshoe detective in the mold of Philip Marlowe, but his dialog isn't quite as sharp.

Dix, of course, has to play fast and loose with the police on his trail and there are enough plot twists to keep any mystery fan mystified. Another factor in the plot is the femme fatale posing as someone else while scheming to get the money. As you can see, for a film that only runs one hour there's enough to keep you busy watching for the next development.

The supporting cast includes BARTON MacLANE, PAMELA BLAKE, CHARLES LANE, REGIS TOOMEY and MIKE MAZURKI.

Crisply written and directed, it's a good series entry.

Up to this point, I found the entries in "The Whistler" series to be enjoyable B movies, but with "Mysterious Intruder", something seems to have gone wrong. Let me make clear that I didn't think that this entry was a terrible movie. But all the same, it doesn't seem to fit with the other entries. For starters, the story is more of a standard B movie detective movie instead of a more suspenseful story. And this particular detective story really requires you to pay close attention - if you are not keeping careful mental notes to what's going on, you'll likely get lost pretty quickly. I will admit that if you're patient enough to sit through the movie, you'll be rewarded with a dark ending that does seem to fit other movies of the series. Those who also like detective dramas of the 1940s probably will get some extra enjoyment as well. But as I said, it isn't really a true "Whistler" movie, and must be considered somewhat of a misfire.

Mysterious Intruder (1946)

** 1/2 (out of 4)

Fifth film in Columbia's The Whistler series has Richard Dix playing a private investigator who gets a case from an old man who is looking for his niece. Soon the old man is dead and the PI might have had something to do with it. This is a pretty good entry in the series, although the screenplay falls short when compared to the previous film. I think the biggest problem here is the plot itself, which is quite confusing and even in the end it didn't seem to work itself out very well. The film only ran 61-minutes so perhaps that's why the story didn't have time to work itself out as well as it should have. Dix once again turns in a good performance with Charles Lane, Barton MacLane and Nina Vale offering fine support. Castle's direction is good throughout, although it could have probably been better with a better script.

The 1940's were full of private eyes from Sam Spade to Phillip Marlowe. None, however, equals the sheer sleaze of key-hole peeper Don Gale. He's a distinctive creation of writer Eric Taylor's clever little screenplay, with more twists and turns than one of those old Toni home permanents. The brief opening between Gale and his secretary tells all we need to know about his brand of professional ethics and is a great bit of subtle innuendo. Richard Dix is perfect as Gale with all the phony charm and shifty eyes of an oily medicine man. If Gale has any redeeming qualities like Spade or Marlowe, I can't find them, making him one of the most unusual lead characters of the day.

The movie starts off posing a neat little mystery-- why would anyone want to kill for some worthless old keepsakes. The solution is a novel one, although the story sometimes unfolds in a complex fashion that's hard to follow.There're some nifty little touches, such as the trigger-happy neighbor who apparently shoots at anything that moves or the safe-house matron who looks like she could go a few rounds with Mike Tyson. However, not everything is roses. Little old man Stillwell should carry a sugar-overload warning, while plug-ugly Mike Mazurki mugs it up shamelessly as the towering menace. The bare-bones street scenes might blemish most movies, but here they come across as just plain cheap like Gale himself.

How surprising that the schlockmeister of 1950's gimmick movies, William Castle, stands as the moving force behind many of these little Whistler gems. He had a real feel for them. Too bad he's identified now with such exploitation flicks as The Tingler (1959) and 13 Ghosts (1960), (Tingler wired certain certain theatre seats for a mild jolt and then insured the patrons! ). Anyway, the ending here is particularly ironical, even for a series that prided itself on irony. As they say, they just don't make 'em like this any more. Too bad.